»The adornment supplants the destruction of this faulty crockery and also creates semantic added value – product as a message and message as a product. It raises the question of the aesthetics of commodity and the role of design in influencing values that are most likely outdated. LÜCKE thus advances creatively into areas that were hitherto beyond the remit of ecology.«Prof. em. Günter Horntrich
Three questions for Susann Paduch
How did the idea for LÜCKE tableware come about?
The idea for the LÜCKE tableware was the outcome of my personal interest. With B-stock porcelain from the KAHLA factory outlet in my hands, I asked myself what might have been the rejection criteria for each of the plates and bowls. Knowing about the fluctuations that can occur in production and with my own experiences in materials and processes, I could identify the majority of the phenomena and began to think about how to label and illustrate these effects on the product itself.
What was your personal high point in the development process for LÜCKE tableware? Was there a low point?
My recurring high point was coming across a small bowl featuring a particularly large number of obvious “errors”, decorating this with a correspondingly high number of labels and then later discovering it as the focal point of a table in the restaurant. A small damper was the phenomena of “enamel dots” – tiny depressions in the glaze – which partially disappeared after the decor was fired, making the label obsolete.
Where do you see your project in five years?
I would like to see the decor design in production and at the same time as a starting point and door-opener for more product ideas that could be developed together with porcelain manufacturers.